traditional styles 2 - gcvirginia.org...page 3 of 35 revision date 7/18/2018 the biedermeier...

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TraditionalStyles....................................................................................................................2

EuropeanPeriodDesigns..................................................................................................................2ITALIANRENAISSANCE(1400–1600)..................................................................................................3DUTCH-FLEMISH(1600s–1700s)........................................................................................................4FRENCHBAROQUE:LouisXIV(1661–1715).......................................................................................6FRENCHROCOCO:LouisXV(1715–1774)..........................................................................................7FRENCHNEOCLASSICAL:LouisXVI(1774–1793)................................................................................9FRENCHEMPIRE:NapoleonBonaparte(1804–1814)......................................................................10BIEDERMEIER(1815–1848)..............................................................................................................11

EnglishFloralDesigns.....................................................................................................................13

GEORGIAN(1714–1830)..................................................................................................................14VICTORIAN(1830–1901)..................................................................................................................15TUSSIEMUSSIE(1830–1901)............................................................................................................18ARTNOUVEAU(1890–1915)............................................................................................................19

AmericanFloralDesigns.................................................................................................................22

EARLYCOLONIAL(1607–1699).........................................................................................................22LATECOLONIAL:Williamsburg(1700–1780)....................................................................................24FEDERAL(1780–1830)......................................................................................................................26

AmericanGeometricDesigns..........................................................................................................28

TRADITIONALLINEDESIGN(1901–1950).........................................................................................30TRADITIONALLINEMASS(1901–1950)............................................................................................32TRADITIONALMASS(1901–1950)....................................................................................................33

Bibliography.........................................................................................................................34


TraditionalStyles***Remember,thismaterialistobeusedasaguideandshouldbesupplementedwithyourownresearchandcarefulreadingoftheFlowerShowSchedule.AllarrangementsMUSTbeoriginaldesignsandpreparedbytheindividual/individualsexhibitingthem.Traditionalflowerarrangingstyletypicallyreferstoallfloraldesignsoriginatingworldwidepriortotheearly20thCentury.Rich,accumulatedhistoryfromaroundtheworld,primarilyAsian,European,andEarlyAmerican,formstheframeworkfortoday.Americanmid-20thcenturytraditionalflowerarrangingwastheculminationoftwomaintrendsintheartofarrangingflowerswhichhavebeenoursourceofinspiration.ThesetrendsincludeinfluencesthatrangefromAsia,withtheChineseemphasisonnaturalismandthehighlystylizedlineardesignsoftheJapanese,totheinfluenceofthemassedbouquetartofEurope,includingallthe“period”styles.However,flowerarrangingintheU.S.developeditsownindividuality,combiningattentiontobothlineandmass,creatingthemanyvariationsoftheline,linemass,andmassarrangementsweseetoday.Traditional“stylized”arrangementshavebeencriticizedinrecentyearsforconformingtothecriteriaofconventionalform.Buttobeastyleperserequiresconformitytocertaincriteria.AgoodknowledgeoftheTraditionalstyleswillprovideabaseforyourflowerarrangingskillandenableyoutomoveforwardinfloraldesigndevelopingyourowncreativity.

EuropeanPeriodDesigns***Remember,thismaterialistobeusedasaguideandshouldbesupplementedwithyourownresearchandcarefulreadingoftheFlowerShowSchedule.AllarrangementsMUSTbeoriginaldesignspreparedbytheindividual/individualsexhibitingthem.PriortotheRenaissance,flowerarrangementswereprimarilyusedinchurchesforimportantreligiousceremonies.TherebirthandchangeoftheRenaissancebroughtapassionforgardensintheItalianRenaissance(1400–1600).Peoplebroughtcutflowersintotheirhomestocelebrateoccasions.Floraldesignerswerecommissionedtocreatelargefloralarrangementsforpageantsandfestivals,andanappreciationforflowersymbolismgrew.Withthediscoveryofnewworlds,interestfromwealthymerchantsinscienceandnewbotanicalspecimensinspiredDutch-Flemish(1600sto1700s)artiststocreatedepictionsof“flowersbloominginparadise”combininginonearrangementidealizedflowersofallseasons.InFrance,FrenchBaroque(LouisXIV:1661–1715)designsin“theGrandEra”beganassymmetrical,oval,vividly-colored,boldexpressionsdemonstratingthepowerandwealthofthenobilityandevolvedtolighter,curvaceous,asymmetricalbouquetswithnocolorgroupingsorcenterofinterest.LouisXVoftheFrenchRococo(1715–1774)periodwasgreatlyinfluencedbyMadamedePompadour,andthefocusoftheFrenchcourtbecameintimacyandincreasedlightness.DesignsofthisperiodaretheloosestofallFrenchdesignsandfeaturegraceful,lightly-bendingarcsandcurves.InthereignofLouisXVIandMarieAntoinette,FrenchNeoclassical(1774–1793)sociallifeplacedevenlessemphasisonlarge,imposingspaces,gravitatingtosmaller,moreprivateareas.Floraldesignmovedfurtherinfemininedesignqualitywithmoredelicate,coolcolorsarrangedinanopen,flame-likeshapewithslim,straightlinesandtallcurves.Napoleon’sFrenchEmpire(1804–1814)replacedfemininitywithdynamic,militaristicmasculinethemes.Denseandstructured,formalbalancewasrestoredwithflowersofvividcolorsandboldtexturesarrangedinatriangularmass.FollowingtheNapoleonicsieges,


theBiedermeier(1815-1848)transitionalperioddevelopedbetweenNeoclassicismandRomanticism.Emphasisonthemiddleclassfamilylifeandprivateactivitiesensued.Flowerdesignsfeaturedconcentriccirclesorspiralsofbold,contrastingmaterialsandtexturesemployingthepavétechniquetocreateaprimarilyroundedform.ITALIANRENAISSANCE(1400–1600)CulturalEnvironment:TheRenaissance,atimeofrebirthandchangefollowingtheDarkAgesinEurope,beganinItalyinthe14thcentury.Duringthisera,passionforgardensandgardeningspreadfromItalythroughoutEurope.Peoplecutflowersfromtheirgardensandarrangedthemforeverydayoccasions,notjustforreligiousceremonies.Pageantsandfestivalswerepopularandartistswerecommissionedtodesignfloralpiecesforthem.Anappreciationforflowersymbolismbeganduringthistime,withparticularmeaningattachedtocertainblooms.Floralbeautywithsymbolicmeaningandrichtexturesdefinedthearrangementsofthisera.Smallflowersofbright,vividcolorswerepreferredanddesignsfeaturedcontrastingcolorsbasedontriadicharmonies.Characteristics:

• Designshapeswerethearc,ellipse,andtriangle• Uncluttered,symmetrical• Usuallythesameheightasthecontainerornomorethantwotimestheheight• Colorfulflowerswereused,oftenalongsidefruitsandvegetables• Characteristicdesignswereflowersarrangedinvasessothatonlytheblossomswerevisible• Stemswerecovered,creatingamassed,symmetricallystiffcomposition• Eventhoughtheflowerswerecompactlyplaced,eachflowerstoodoutduetoitsbrightcolors

andthevarietyofmaterialsusedContainers:Flowerswerearrangedinclassicalcontainersofbasicshapesmadeofpottery,metal,orglass.Pedestalvases,lowbowls,pickingbaskets,andsalversaretypical.Colors:Bright,mixedcolorsinprimaryandsecondarycolortriadswerepopular:red,blue,yellow;andorange,violetandgreen.DesignShape:Arc,ellipse,andtriangle.Thearrangementwasusuallythesameheightasthecontainerornomorethantwotimestheheight.PlantMaterial:Anemone,Apple,Bellflower,Carnation,Cucumber,Daffodil,Daisy,Iris,Fig,Gentian,Grape,Lily,Honeysuckle,Jasmine,Laurel,Lily,LilyoftheValley(duetoChristiansymbolism),Marigold,Melon,Monkshood,Narcissus,Olive,Pansy,Pinks,Pomegranate,Poppy,Rose,Violet,andWheat.Tulips,Peonies,andAmaranthusareNOTseeninRenaissancearrangements.


DUTCH-FLEMISH(1600s–1700s)

CulturalEnvironment:Akeeninterestinbotanyandthecultivationofimportedfloralspecimensarosefromgreatadvancesinscienceandthediscoveryofnewworlds,bringingaboutachangeinflowerarranging.WhereaspreviouslythepatronsofarthadbeentheChurchandthenobility,thenewly-powerfulmerchantclassbecameinterestedincollectingandexhibitingexoticspecimens.Asaresult,thesubjectmattershiftedfromdourreligiousthemesintothemesthatsimplyfocusedonbeauty(andadvertisedthewealthofpatrons).Artistsdepictedflowersinstilllifepaintings,mainlyoilonboard,portraying“flowersbloominginparadise”withoutregardtoactualbloomingseason,combininginonearrangementidealizedflowersofallseasons.

Characteristics:• Lavish,full,dramaticcompositionsoffruitsandflowerscreatedtoportrayastylized

combinationofimportantspecimenstodemonstratethevarietyofnature• Largelyovalinform;prominentflowersplacedinpositionswithinthearrangementwherethey

wouldreceivethemostattention

GCV2010 GCV2006 GCV2006

JanBrueghel,TheVisitoftheInfantaIsabellaandtheArchdukeAlberttotheAntiquary’s,TheWaltersArtMuseum,Baltimore,1621-1623.ThelargegroupofflowersshownincludesagiantsunflowerfromAmerica.

JanvanHuysum,FlowersinaTerraCottaVase,1736-7,NationalGalleryofArt,Washington,D.C

JanBruegheltheElder,FlowersinaWoodenVessel,1606/1607,KunsthistorischesMuseum,Vienna,Austria


• Compositionsfeatureheadsofflowersturnedtothebackorsidesothattheirmanyaspectscouldbestudied

• Whiletheinclusionofbulbflowersismandatory,tropicalflowers,fruit,jewelry,andrichfabricswerealsoimportant,astheydemonstratedgreatwealth

• Wildflowersandaccessoriessuchasbird’snestsandeggswerealsoencouraged• Imperfectionswereleftuneditedbecausenatureisnotperfection;leavesandflowersoften

featuredbugholes,spots,andeventhebugsthemselvesContainers:Stoneoralabasterurns,bronzeewers,pewterjars,amberorgreenglassbowls,vases,goblets;potterybowls,Delft,terracottaurns(noshinymetals).Colors:Strongvibrantjeweltoneswithwhiteandpinkprovidinghighlights.Wheneverpossible,bluewasused.DesignShape:OvalandHogarthS-Curve.EarlyDutch-Flemisharrangementsweretallmassedovals,oftenwithbreaksintheperimeterlinetohighlightimportantflowersandaccentuatecurvingstems.Prominentflowersareplacedinpositionswheretheyreceivethemostattention,andbloomsmayfacealldirectionsasFlemishpainterswantedtoshowtheirbacks,curves,andbeautifulprofiles.Accessories:AccessorieswereaveryimportantpartofthesymbolismanddesignofDutch-Flemishflowerarrangements.Fruit,birds’nests,insects,shells,nuts,books,musicalorscientificinstruments,richfabrics,andjewelswereusedasaccessoriestosymbolizespecificthemesandtodenotewealth.PlantMaterial:Agreatvarietyofflowersischaracteristicwithlittleregardforseasonalcompatibility.Bulbsaremandatory.Anemone,Carnation,Coleus,Daffodil,Dahlia,Foxglove,Hyacinth,Iris,Lily,Marigold,Narcissus,Peony,Rose,Snowball(Viburnum),andTulipmixedwithtropical(especiallyFritillariacrownimperial),andwildflowers.Fruitswereimportant,particularlypineapple(thetreasuredfruit),grapes,andpomegranates.

GCV2007 GCV2011


FRENCHBAROQUE:LouisXIV(1661–1715)CulturalEnvironment:TheBaroquestyleoffloraldesign,knownasthe“GrandEra,”beganassymmetrical,oval-shapeddesignscharacterizedbyboldcolorsandheavyornamentationtodemonstratethepowerandwealthofthenobility.Laterinthisperiod,floraldesignstylesbecamelighterandasymmetrical,featuringasweeping“S”curve.Thischaracteristic“Hogarth”curve,alsoknownasthe“LineofBeauty,”wasnamedinhonorofWilliamHogarth,an18thcenturyEnglishpainter.Thetopiarywasalsointroducedduringthisperiod.Refinement,elegance,andfemininitywerestressed.

Characteristics:

• Beganassymmetrical,oval-shapeddesigns;opulent,withheavyornamentationincludingscrollsintheplantmaterials;bright,large,lavish,andrichincolor,incorporatingfruitandfoliage

• Colorsweresaturatedanddynamic,withvividcontrasts,transitioningtolighterandmorepastelshadeslaterintheperiod

• UndertheinfluenceofLouisXIV,“TheSunKing,”theBaroquedesigncharacterofsizeandcolorwasmodifiedforgreaterfeminineappeal;arrangementstendedtowardinformal,symmetricalbouquetswithnocolorgroupingsorcenterofinterest

• Laterinthisperiod,floraldesignstylesbecameasymmetricalandfeaturedasweeping“S”curve• NOTE:ConsultthescheduleforspecificsconcerningEarlyorLateBaroqueassignment.

Containers:Bronze,gilded,alabaster,silverclassicalurns,andcontainersoffinecraftsmanship.Colors:Bold,dynamic,mixedcolorswithlittleblendingandnocenterofinterest;laterintheperiod,colorstransitiontolighterandmorepastelshades.

Jean-BaptisteBelindeFontenay,FlowersinaGoldVase,BustofLouisXIV,HornofPlentyandArmour,1687,LouvreMuseum,Paris

PeriodFlowerArrangement,MargaretFairbanksMarcus,1952,H.Wolfe,NewYork


DesignShape:OvalorHogarthS-curveareboldinthedesign;designshapeincludesscrollsinplantmaterial.Accessories:Candlesticks,baroqueangels,boxes.PlantMaterial:Acacia,Ageratum,Aquilegia,Anemone,Begonia,Bouvardia,Carnation,Camellia,Cyclamen,Daffodil,Daisy,Delphinium,EasterLily,Forget-me-not,Freesia,Fuchsia,Grapeleavesandtendrils,Honeysuckle,Hydrangea,Iris,Jasmine,Jonquil,Larkspur,Lilac,Lily-of-the-Valley,Marigold(paleyellow),Myrtle,Narcissus,Pansy,Parrottulip,Peony,Petunia,Plumbago,Poppy,Primrose,Ranunculus,RomanHyacinth,Rose,Salvia(blue),Scabiosa,Stock,Sweetpea,Tulip,Viola,Violet,Wheat

FRENCHROCOCO:LouisXV(1715–1774)CulturalEnvironment:KingLouisXVwastremendouslyinfluencedbyAntoinettePoisson,MadamedePompadour.Duringhisrealmthefocusbecameintimacyandincreasedlightness.TheladiesoftheFrenchcourtweredevotedtoentertaining,andfloralsettingsforbanquets,smallparties,buffetsuppers,andpicnicsweremostelaborate.Swirlingformsandscrollswerecharacteristic. Characteristics:

• EvolvedfromthemoreformalandcolorfulBaroque• LightestandloosestofallFrenchdesigns,describedasfeminine,whichimplieslightness,

elegance,playfulness,andairiness• Linesfollowgraceful,lightlybendingarcsandshortcurves• Fewerflowersusedwiththeblossomsmoreopenlydisplayed• OverallaspectisoneofharmonyversustheboldcontrastoftheBaroque,withfeminine

softnessinplaceofvividdrama• Curvilinearformwithasymmetricbalancetakingtheformofcrescents,arcs,orS-curves;these

shapeswerelooseandfreeflowinganddidnotconformtotightoutlines

2017GCVSymposium


• S-curvesfollowtheHogarth“LineofBeauty”intheirgeneralshapeandaremoreopenandinformalthantheBaroqueHogarthcompositions;incontrasttotheBaroqueS-curve,theRococoS-curveisnotcreatedbyadistinctrhythmofplantmaterialsrepeatedinalinebutratherthegeneralshapesuggestsanSwithamuchmoreopenandinformalattitude

• Randomflowerplacementincludingclustersandfeaturedsingleblooms• Fewerflowersusedandmoreopenlydisposed• Visiblestemsaddedtothelightnesswithnodefinedfocalarea• Heightofarrangementisproportionatetotheheightofcontainer

Containers:Ceramicvasesoftenofvibrantcolorswithgoldembellishmentandhand-paintedpastoralscenes.Doublehandlescommon,decorativebronzeurns,ornatecrystal,orcoloredglasswithgoldaccents,filigreedbaskets,epergnes,andelaboratebowls.Colors:Lighthuesandharmonioussequencesarecharacteristic.Harmonyandpastelspredominatewithshellpink,paleandgoldenyellow,softgreen,blue-green,andlightblue,withaccentsofdarkblueandviolet.Outlineshape:Loose,airy,femininecurveorcurves.Thedominantlineisalight,playfulC-curve,endinginadelicatescroll.Profilesandcontoursshouldbeinterestingandsprightly,withtinyscrollsinevidencesuchastendrilsandtinybuds.ArrangementstendNOTtobeperfectlysymmetrical.Plantmaterial:Sinuousvinesandfernfronds,andflowerswithsilkytexturesandpaperypetalsaddcrispnessandfreshness.Acacia,Ageratum,Aquilegia,Anemone,Begonia,Bouvardia,Carnation,Camelia,Cyclamen,Daffodil,Daisy,Delphinium,EasterLily,Forget-me-not,Freesia,Fuchsia,Grapeleavesandtendrils,Honeysuckle,Hydrangea,Iris,Jasmine,Jonquil,Larkspur,Lilac,Lilies(afavoriteFrenchflower),Lilyofthevalley,Marigold(paleyellow),Myrtle,Narcissus,Pansy,Parrottulip,Peony,Petunia,Phlox,Plumbago,Poppy,Primose,Ranunculus,RomanHyacinth,Rose,Salvia(blue),Scabiosa,Snapdragons,Stock,Sweetpea,Tulip,Viola,Violet,andWheat.

2017GCVSymposium 2017GCVSymposium


FRENCHNEOCLASSICAL:LouisXVI(1774–1793)CulturalEnvironment:IntheshortreignofLouisXVI,MarieAntoinettemovedfloraldesignfurtherinthefemininedesignqualitywithmoredelicate,coolcolorsandlesslavishcontainersthaneverbefore.Thedesignswerearrangedinanopen,flame-likeshapewithslim,straightlinesandtallcurves.Sociallifeofthetimeplacedlessemphasisonlarge,imposingspacesandgravitatingtosmaller,moreprivateareas.Characteristics:

• Flame-likeshape• Slimstraightlinesandtallcurves• Spikedflower

Containers:Tall,slenderurnsandbasketsofcrystal,bronze,porcelain,andsilver.Colors:Cooltonesoflavender,lightpurple,blue,turquoise,green,mauve,andgrayhighlightedwithgold,white.DesignShape:Flame-likeshape,slimstraightlines,andtallcurves;spikedflowerformsAccessories:Bisquefigurines,porcelainbirds,andflowers.Plantmaterial:Acacia,Ageratum,Aquilegia,Anemone,Begonia,Bouvardia,Carnation,Camelia,Cyclamen,Daffodil,Daisy,Delphinium,EasterLily,Forget-me-not,Freesia,Fuchsia,Grapeleavesandtendrils,Honeysuckle,Hydrangea,Iris,Jasmine,Jonquil,Larkspur,Lilac,Lily-of-thevalley,Marigold(paleyellow),Myrtle,Narcissus,Pansy,Parrottulip,Peony,Petunia,Plumbago,Poppy,Primose,Ranunculus,Romanhyacinth,Rose,Salvia(blue),Scabiosa,Stock,Sweetpea,Tulip,Viola,Violet,Wheat.

CreativeFlowerArrangingFloralDesignForHomeAndFlowerShow,BettyBelcher,TimberPress,Inc.Portland,Oregon1993

DesigningbyTypes,NationalGardenClubs,Inc.,TheEPICompanies,Marietta,Georgia2008

OutlinesofPeriodFlowerArrangement,FrancesJ,Hannay,NationalCouncilBooks,Inc.,Philadelphia,PA

TheFineArtofFlowerArranging,TheGardenClubofAmerica,TextbyNancyD’Oench,HarryN.Abrams,Inc.,2002,NewYork,NewYork


FRENCHEMPIRE:NapoleonBonaparte(1804–1814)CulturalEnvironment:InFranceundertheleadershipofNapoleonBonaparte,femininitywasabandonedentirelyandreplacedbydynamic,militaristicthemes.Bold,vivid,formal,compactdesignsdominatedtheEmpireperiodjustasNapoleondominatedthepoliticalscene.Characteristics:

• Triangularinmasswithformalbalance• HeavierandmorecompactthanearlierFrenchstyles• Denseandstructured,withboldtexturesandvividcolors

Containers:ClassicalvaseswithGreek,Roman,Egyptianmotifsinmarble,alabaster,orporcelain,orvaseshand-painted.DisplayedemblemsidentifiablewithNapoleon,suchasabeeortheletterN.Colors:Brillianthuesofred,green,white,gold,yellow,andpurple.DesignShape:TriangularAccessories:Clocks,candlesticks,anddecorativeboxes.PlantMaterial:Periodflowers:Acacia,Ageratum,Aquilegia,Anemone,Begonia,Bouvardia,Carnation,Camelia,Cyclamen,Daffodil,Daisy,Delphinium,EasterLily,Forget-me-not,Freesia,Fuchsia,Grapeleavesandtendrils,Honeysuckle,Hydrangea,Iris,Jasmine,Jonquil,Larkspur,Lilac,Lily,LilyoftheValley,Marigold(paleyellow),Myrtle,Narcissus,Pansy,Parrottulip,Peony,Petunia,Plumbago,Poppy,Primose,Ranunculus,RomanHyacinth,Rose,Salvia(blue),Scabiosa,Stock,Sweetpea,Tulip,Viola,Violet,Wheat

GCV2006 GCV2013


BIEDERMEIER(1815–1848)CulturalEnvironment:AtransitionalperioddevelopedbetweenNeoclassicismandRomanticismasitwasinterpretedbythebourgeoisie,particularlyinGermany,Austria,northernItaly,andtheScandinaviancountries.FollowingtheNapoleonicsieges,theBiedermeierstylegrewduringaperiodofeconomicimpoverishment.ThenameBiedermeierwasoriginallyderogatorybecauseitwasbasedonthecaricature“PapaBiedermeier,”acomicsymbolofmiddle-classcomfort.Suchcomfortemphasizedfamilylifeandprivateactivities.Characteristics:

• Averystructuredbouquetinwhichthepavétechniqueisusedtocreateconcentricringsorcontinuingspiralsofflowers,nuts,berries,orotherplantmaterialsarrangedinacompactroundedorslightlyconicalshape

• Consistentwiththepavétechnique,whiletheformmayberounded,thesurfacearearemainsflat.

• Eachringcontainsonetypeofplantmaterialwhichcontrastswiththeringadjacenttoitortothecontinuingspiral;thecontrastofcolor,form,andtexturecreatesinterestinthedesign

• Materialsareusednotfortheirindividualformorcolor,butfortheirmassedcolorandformimpact

• Manyvariationsofthedesignarepossiblewithspiralpatternsorloosermixedflowerplacementswhileretainingplannedalternatingpatterns

Containers:Lowbowls,cakestands,orfootedcompotes.Colors:ColorisaveryimportantelementinBiedermeierfloraldesignasitcreatesadifferentiationbetweentheconcentriccirclesinthedesign.Thearrangerwillselectthecolorstocreatethemostdramaticimpact.Contrastingorharmoniouscolorcombinationsmaybeemployed.DesignShapes:Roundorroundedshapesareusedmostfrequentlytocreatethebouquet.PlantMaterial:Selectedbythearrangertocreateconcentriccirclesofcolor,texture,andinterest.Flowers,nuts,berries,foliage,andotherplantmaterialsmaybeused.Roundplantformsareemployedmostfrequently.NOTE:ABeidermeierstylearrangementisnotagoodchoicewhenusingdaffodils/narcissusorliliesastheformoftheflowerisnotflatontopasrequiredbythisgenre.


GCV2010 GCV2016


EnglishFloralDesigns***Remember,thismaterialistobeusedasaguideandshouldbesupplementedwithyourownresearchandcarefulreadingoftheFlowerShowSchedule.AllarrangementsMUSTbeoriginaldesignspreparedbytheindividual/individualsexhibitingthem.Duringthe18thcentury,theDutch,Italians,andFrenchinfluences,aswellasnewimportsfromChina,affectedtheEnglishfloraldesign.ManyhistorianssuggestthattheEnglishwerethefirsttousetheformalcenterpieceasweknowthemtoday.Englishdesignsexhibitedthevastarrayofmaterialgrowinginthelovelygardensofestatesandinthecountryside.Mostwereformal,large,andtriangularinshape,withsymmetricalbalance.TheGeorgian(1714–1830)periodswerenamedafterEnglishrulersKingGeorgeI,II,andIII.TheEarlyGeorgianperiodretainedmuchoftheheavierDutchinfluence,whereastheLateGeorgianresembledthelighterFrenchstyles.LateGeorgianarrangementsweremoreopenthanearliertriangularmassarrangementswithsofthuesofcolor,andthefragranceofflowerswasstressed.Themidtolate19thcenturygavewaytotheelaboratedecorationsweassociatewiththeVictorianPeriod(1830–1901)whichwasnamedforQueenVictoria.Floraldesignswereglobular,formal,opulent,lavish,andshowy,becomingmorecompactastheeraprogressed.TheVictorianErawasatimeofgreatenthusiasmforflowers,plants,andgardeningandthusimportantinthehistoryoffloraldesign.Flowerarrangingwastaughtandrecognizedasanart,andrecordsshowthefirstattemptstoestablishrulesforflowerarrangingoccurredatthistime.TheTussieMussie(1830–1901)reachedgreatpopularityduringthestraight-lacedVictorianerawhereflowersbecamesecretcodesforexpressingfeelingsthatmightappeartoorisquéorconfrontationaltospeakaboutopenly.OutofthereactionofthecrudemassproductionsoftheIndustrialRevolutionandtheweightydarknessoftheMid-Victorianperiod,grewaperiodofoneofthemostoriginalmanifestationsofthehumancreativespirit,ArtNouveau(1890–1915).OnbothsidesoftheAtlantic,leadersinandexponentsoftheArtsandCraftsmovementdevelopedanewappreciationforthingsnatural,simple,handmade,andorganic.Japaneseartwasalsoamajorinfluence.Floraldesignsemphasizesimplicityandadominantcurvilinearlinewitharestraintofplantmaterialandsoft,mutedcoloredblooms.

https://landscapenotes.com/2017/07/14/hampton-court-palace-gardens/


GEORGIAN(1714–1830)CulturalEnvironment:TheBaroqueperiodinEnglandduringthe18thcenturyisoftenreferredtoastheEnglish-Georgian,orsimplytheGeorgianperiod,namedaftertheEnglishrulersKingGeorgeI,II,andIII.ArrangementsintheEarlyGeorgianperiodretainedmuchoftheheavierDutchinfluence,whereastheLateGeorgianresembledthelighterFrenchstyles.EarlyGeorgian1714-1760***InformationonEarlyGeorgianisprovidedhereforhistoricalpurposes.***Note:SchedulewritersshouldnotincludeEarlyGeorgiandesignswhenpreparingtheArtisticScheduleforGCVFlowerShows.OnlyLateGeorgiandesignsareusedontheseschedules.TheEarlyGeorgianarrangementsretainedmuchoftheDutchinfluencebycombiningaprofusionofflowers.Thesetriangulararrangementshadasymmetricalbalanceinwhichthearrangements,asawhole,weremoreimportantthanstressingthebeautyoftheindividualflowers.Colorharmony,sometimesmonochromatic,helpedachievethisharmoniouseffect.Theflowersfellgracefullyovertherimwithnoparticularfocalarea,withtheheightofthearrangement1to2timestheheightofthecontainer.Thearrangementswouldalwaysuseflowersfromtheperiod.LateGeorgian1760-1830***Note:SchedulewritersshouldspecifyLateGeorgiandesignswhenpreparingtheArtisticScheduleforGCVFlowerShows.CulturalEnvironment:WhentheFrenchRococostylebecamefashionableinEngland,itbroughtdelicatecolorstoGeorgianperiodinteriors.Whiteandsoftbluewereoftenharmoniouslycombinedwithroseandbufforsilver.ColorinplantmaterialfortheseEnglishroomsof“Frenchtaste”maybelightanddelicatebutflowersshouldbechosenfortheirvelvetytexturesuchaslilies,tuberoses,stock,roses,andcyclamen.TheseemphasizetheweightandsturdinessthatdistinguishtheEnglishinterpretationofFrenchRococo.Thisperioddesignmovedfromthepainter’sinfluencetowardstheclassicalworkofsuchartisansasceramicmakersWedgewoodandcabinetmakersChippendaleandHepplewhite.Characteristics:

• Frenchinfluence;designmoreopenandlessdenseandcrowded• Triangularmassarrangementwithsymmetricalbalance• Shouldhaveacertainformalgrandeur• 1to2timestheheightofthecontainer• Sometimescombinedfruitandflowers• Softhuesofcolor,oftenmonochromatic,sometimesallwhite• Plantmaterialfromtheperiod

InfluencedbytheFrenchRococotobemoreopen,thelateGeorgiandesignsbecamelesscompactandponderouswithcolorsbecomingmoredelicate.Thearrangementremainedasymmetricallybalancedtriangle,withfruitandflowersoccasionallyadded.Plantmaterialsshouldbefromtheperiod.


Containers:Footedvases,chalices,goblets,winecoolers,wide-mouthbowls,tureens,lacqueredturnedwood,epergnesColors:Softerhueswithcolorsbecomingmoredelicate,harmonious,oftenmonochromatic,particularlyallwhiteDesignShape:Symmetricaltriangle,moreopeninformthanEarlyGeorgianAccessories:Figurines,rosejars,andflowerslaidontablePlantMaterial:Velvetytextures,withtextureanimportantfactor.Anenome,Baby’sBreath,Blackberry(flowers,fruit,andfoliage),Candytuft,Carnation,Chrysanthemum,Clover,Cornflower,Crocus,CrownImperial,Dahlia,Daylily,Delphinium,DriedMaterials(rosehips,strawflower,seedpods,wheat),EasterLily,Fruitblossoms,Foxglove,Gladiolus,Honeysuckle,Hyacinth,Iris,Larkspur,Lilac,Lilies,Lupine,Marguerite,Marigold,Mignonette,Muscari,Narcissus,Pansy,Peony,Penstemon,Petunia,Pomegranate(flowersandfruit),Primsrose,QueenAnne’sLace,Ranunculus,Roses(old-fashionedtypes),Salvia(blue),Snapdragon,Statice,Sunflower,Stock,Tulip,Veronica

VICTORIAN(1830–1901)CulturalEnvironment:ThemidtolatenineteenthcenturygavewaytotheelaboratedecorationsweassociatewiththeVictorianperiod.NamedforQueenVictoria,whoruledEnglandfrom1837to1901,duringthistimeavarietyofarchitecturalstylesandfurnishingweredesignedwhichalsoborehername.Victorianinteriorswerelavishlydecoratedinheavycolorsandpatterns.Thefloraldesignswereformal,opulent,lavish,andshowy,andbecamemoreponderousastheeraprogressed.Atimeofgreatenthusiasmforflowers,plants,andgardening,theVictorianeraisimportantinthehistoryoffloraldesignbecauseflowerarrangingwastaughtandrecognizedasanartandrecordsshowthefirstattempttoestablishrulesforflowerarranging.Thelanguageofflowerswasalsothoughtfullyandcarefullystudied.Flowersbecameapopularmeansofconveyingmessages.

GCV2009 GCV2006 GCV2014


EarlyVictorian***InformationonEarlyVictorianisprovidedhereforhistoricalpurposes.***Note:SchedulewritersshouldnotincludeEarlyVictorianwhenpreparingtheArtisticScheduleforGCVFlowerShows.OnlyLateVictoriandesignsareusedontheseSchedules.EarlyVictoriandesignswereglobularmassedflowerarrangementsthatwerelighterindesignthanlaterVictorian,withmoreopenspacesduetotheFrenchinfluence.Rich,heavycolorsweremixedwithlighterhuesandsometimeswhite.Trailingfernsandgrasseswereusedtoprovideairiness.Mid-Victorian***InformationonMid-Victorianisprovidedhereforhistoricalpurposes.***Note:SchedulewritersshouldnotincludeMid-VictorianwhenpreparingtheArtisticScheduleforGCVFlowerShows.OnlyLateVictoriandesignsareusedontheseSchedules.ThesearrangementsweremorecompactthanEarlyVictorian.Aprofusionofdifferenttypesofperiodflowerswithheavy,velvetytextureswereusedtocreateaglobulardesignwithfeweropenspaces.Rich,boldcolorsandstrongcolorcontrastwereincorporated.Trailinggrassesandfernswereusedtocreateasenseofairiness.LateVictorian***Note:SchedulewritersshouldspecifyLateVictorianwhenpreparingtheArtisticScheduleforGCVFlowerShows.LateVictorianflowerarrangementswerecompactandsphericalwithalmostequalproportionsofplantmaterialtothesizeofthecontainer.Flowersofdifferentsizesandshapesweremassedtogetherwithfewvoidsandnocenterofinterest.DesignsofthisperiodwerethemostcompactofallVictorianarrangements,withflowersofelaboratevarietiescrowdedintovases.Flowersweremassedtogethersotheindividualbeautyofflowerswaslost.RosesarealmostalwaysmandatoryforaVictorianflowerarrangementastheywereverypopularduringtheera.Characteristics:

• DesignswerethemostcompactofallVictorianarrangements

MaryPrincePhotography©2012Houzz,GibsonHouseMuseum


• Flowersmassedwithoutacenterofinterest• Varietyofsizesandshapesofflowerscrowdedtogether• Colorcontrastratherthanharmony• Materialsspilledoverrim• Globularorcircularinshape• Opulentandsomewhatheavy• Mustuseflowersoftheperiod• Noemphasisonindividualbeautyofflowers

Containers:Flowerswerearrangedinornate,gildedvases,footedtrumpetedvases,alabaster,variousformsofperiodglass,aswellascornucopia,epergnes,andotherperiodcontainers.Elaborate,hand-paintedporcelain,metal,andceramiccontainerstypifytheentireperiod.Colors:Rich,bold,contrastingcolors(withnosetcolorpattern),heavy,velvetytextures,heavybrowns,darkpurple,orange,red,grayedvalues,nosetcolorpatterns.All-whitearrangementswerepopular.DesignShape:GlobularorroundAccessories:Figurinesofperiod,fans,photoalbums,prayerbooks,paperweights,CurrierandIvesprints,sewingboxes,musicboxesPlantMaterial:Periodflowers.Velvetytextures,withtextureanimportantfactor.Amaryllis,Anemone,Azaleas,Baby’sBreath,BleedingHeart,Bluebell,Bouvardia,Calceolarias,Camellia,Carnation,Chrysanthemum,Cineraria,Clover,Cockscomb,Cornflower,Coreopsis,CrownImperial,Dahlia,Daisy,EasterLily,EucharisLily,Fern,Forget-me-not,Foxglove,Freesia,Fritillaria,Fuchsia,Gardenia,Geranium,Gladiolus,Godetia,Heather,Heliotrope,Hyacinth,Immortelle,Ixora,Jasmine,Lilac,Lobelia,Magnolia,Marigold,Mignonette,MorningGlory,Narcissus,Pansy,PassionFlower,Peony,Phlox,Roses,Salpiglossis,Salvia(blueandred),Stephanotis,Stock,SweetPea,SweetWilliam,TigerLily,Thistle,Tuberose,Tulip,Verbena,Vinca,Violet,WaterLilyandHerbs(Rosemary,Rue,Sage,Thymeandotherperiodherbs)

GCV2008 GCV2011 GCV2012 GCV2015


TUSSIEMUSSIE(1830–1901)CulturalEnvironment:TheTussieMussie,amedievaltermfor“aknotofflowersinmoss,”haditsorigininEngland;however,thesebouquetscanbetracedbackamillenniumormore.Commonplaceinthe15thcentury,theywereusedtowardofffoulodorsfromthepeopleandthestreetsduringtheplague.InColonialtimes,thenosegayconsistedprimarilyofscentedherbssuchasrosemary,thyme,andrue.IntheGeorgianperiod,thefragranceofflowerswasstressed,andbythe18thcentury,itwasalltheragetowearorcarryfreshflowersasafashionaccessory.TheTussieMussiereachedgreatpopularityduringthestraight-lacedVictorianerawhereflowersbecamesecretcodesforexpressingfeelingsthatmightappeartoorisquéorconfrontationaltospeakaboutopenly.ATussieMussieisasmallcircularnosegayofflowersandherbs,tightlygatheredanddesignedtocarryaspecialmessageinthelanguageofflowersduringcourtshipandwereusedascoymeansofflirtation.Symbolicmeaningswereadaptedfrommythology,religioussymbols,ancientlore,andabitofcreativity.Somuchlanguagedevelopedthatentiredictionarieswerecreatedtohelpaladyorgentlemanexpresshimselforherselfthroughtheflowers.TheselittlenosegaysreachedpeakpopularityduringtheVictorianera.Characteristics:

• Small,compactbouquetcarriedinthehandorslippedintoavase• Fragrantflowersandherbsincluded• Twodistincttypesofdesign

° Formal:concentricrowsofflowerswitharoseorotherfragrant,symbolicflowerinthecenter;rowsofflowersorherbsformedtightringsaroundthiscentralflower

° Informal:morecasuallyarrangedContainers:HandBouquet-holders,posyholders,paperorlacedoilies,orsmallVictorianvasesColors:Bold,contrastingcolorsDesignShape:Round;maybeconcentricrowsPlantMaterial:FragrantflowersoftheperiodcombinedwithscentedherbssuchasRosemary,Rue,Sage,andThymeandotherherbs;leaves.Amaryllis,Anemone,Azaleas,Baby’sBreath,BleedingHeart,Bluebell,Bouvardia,Calceolarias,Camellia,Carnation,Chrysanthemum,Cineraria,Clover,Cockscomb,Cornflower,Coreopsis,CrownImperial,Dahlia,Daisy,EasterLily,EucharisLily,Fern,Forget-me-not,Foxglove,Freesia,Fritillaria,Fuchsia,Gardenia,Geranium,Gladiolus,Godetia,Heather,Heliotrope,Hyacinth,Immortelle,Ixora,Jasmine,Lilac,Lobelia,Magnolia,Marigold,Mignonette,MorningGlory,Narcissus,Pansy,PassionFlower,Peony,Phlox,Roses,Salpiglossis,Salvia(blueandred),Stephanotis,Stock,SweetPea,SweetWilliam,TigerLily,Thistle,Tuberose,Tulip,Verbena,Vinca,Violet,WaterLilyandHerbs(Rosemary,Rue,Sage,Thymeandotherperiodherbs)


ARTNOUVEAU(1890–1915)CulturalEnvironment:TheArtNouveauperiodlastedapproximatelytwentyyearsandwaspopularinbothEuropeandAmerica.Thisperiodwasoneofthemostoriginalmanifestationsofthehumancreativespirit.ArtNouveaugrewasareactiontothecrudemassproductsoftheIndustrialRevolutionandtheweightydarknessoftheMid-Victorianperiod.OnbothsidesoftheAtlantic,leadersinandexponentsoftheArtsandCraftsmovement–WilliamMorrisandCharlesRennieMacintosh(furnitureandinteriordesign);TiffanyandLalique(glassandjewelry);Whistler,Redon,Rosetti,andBeardsley(painting),amongothers–reflectedanewappreciationforthingsnatural,simple,handmade,andorganic.Japaneseartwasalsoamajorinfluence.

GCV2012 GCV2009

GCV2012 GCV2009


Characteristics:

• Asymmetricalbalance• Dominanceofline;curvilinear“whip”(sudden,violentcurvesgeneratedbythecrackofawhip);

focusisonrhythmic,flowinglinesandwhiplashcurves• Containeroftentallerthanmaterialitcontains• Soft,mutedcolors;toningcolorsandharmoniouscolorcombinations• Twining,undulatinggreenery,suchasvines,fernfronds,andtendrils• Emphasizesimplicityandline• Restraintwithplantmaterialandblooms

InArtNouveauarrangements,asymmetricalbalanceanddominanceoflinearekey.Thestyleiseasilyidentifiedbyacurvilinearline,oftencalledthe“whiplash,”whichbecomesthemostexpressiveofthedesignelements.AlighterarrangementthantheVictorianandmoreenergeticthantheHogarthcurve,itchallengesthesphericalmasspreferredbytheVictorians,andreflectsthegeneralinterestinnatureandbounty,particularlyinnaturalplantsformssuchasfronds,vinesandtendrils.Arrangementsmightconsistofonepure,specimenbloomarrayedagainsttwining,undulatinggreenery,orofaseriesofbloomsofoneflower,stemcutthesamelength.Plantmaterialwasoftenlessthantheheightofthecontainerand,sometimes,lessthanhalf.Plantsmightoverhangtherimofthecontainerconsiderably.Containers:Tall,simple,lightlydecorated,artglass;usuallyofroundedcontour,mattefinishanddecoratedwithimagesofflowersinsectsorbirds.

VirginiaMuseumofFineArts,EmileGalléSideboardwithgilded-ironmountscreatedbyPaulHolderbachandmarquetrypanelsdesignedbyAugustHerbst.PhotographJuly20,2010.

WalnutSideboardwithCalaLilyMarquetryPanelsbyLouchheimDesignFurniture.www.custommade.com


Colors:Coolorwarm,colorsweresoft;muted;mauve,gray,dustyrose,buff,gold,ivory,silver,violet,green,paleyellow,peach;toningcolorsandharmoniouscolorcombinationsimportantDesignShape:Asymmetricalbalancewithdominanceofcurvedline;lineoftendescribedas“suddenviolentcurvesgeneratedbythecrackofawhip.”PlantMaterial:Acacia,Acanthus,Anemone,Aster,CallaLily,Camellia,Carnation,Chrysanthemum,Dahlia,Daisy,EasterLilies,Fern,Freesia,Fuchsia,Honesty,Honeysuckle,Hydrangea,Iris,Lilac,Lily,Lonicera,Nasturtium,Pansy,Poppy,PussyWillow,Tulip,Wisteria;Fruitbranchesandblossoms(Cherry,Peach,Plum);SmokeTree.Seedheadsandberries.Popularfoliage:Acanthus,Acerpalmatum,Arum,Asparagusplumose,Caladium,Coleus,Croton,Cyclamen,Parthenocissusvitacea,Smilax,Vines.

GCV2008 GCV2011 GCV2013


AmericanFloralDesigns***Remember,thismaterialistobeusedasaguideandshouldbesupplementedwithyourownresearchandcarefulreadingoftheFlowerShowSchedule.AllarrangementsMUSTbeoriginaldesignspreparedbytheindividual/individualsexhibitingthem.Europeandesignsareanimportantpartofourheritage:thefloraldesignsofthetimeandtimespastwerebroughttoAmericawiththeearlysettlers,andthosethatfollowedcontinuedtoexertatransatlanticinfluence.Timesweredifficultinthecolonies,withfeweranddifferentplantmaterialsavailable,arevolutionbrewing,andabreakingawayfrommostthingsEuropean.IntheColonialperiod,therewaslittlemorethanthegatheringofafewgardenflowersandherbsintosimplebouquetforms.DistinctlyAmericanstylesemergedwiththeFederalstyleinthelate18thand19thcenturies,and20thcenturygeometricdesignsdevelopedintandemwiththechangingtastesofEurope.EARLYCOLONIAL(1607–1699)CulturalEnvironment:ThefirstsettlerswhocametoNewEnglandwerePuritansseekingreligiousfreedom.Theirattentionfocusedonprovidingplantsandherbsforfoodandmedicine.Oncesettled,earlycolonistsplacedwildflowers,grains,andgrassesineverydayvessels.Characteristics:

• Roundedmasswithoutstructure• Informalmixedbouquets• Warm,bright,ormutedcontrastingcolors• Appearsasgatheredfromyard,natural

17thcenturyColonialAmericanarrangementswereinformalbecausetheyreflectedalifestylewithfewluxuries.Flowers,fruits,andseeds,aswellaspodsandgrasses(cultivatedandwild)wereused,andoftenbothfreshanddriedelementswerearrangedinsimple,naturalbouquetssoastoappeartohavebeengatheredfromtheyardorfields.


Containers:Commonhouseholdutensilswereused,suchaskettles,beanpots,woodenbowls,glassbottles,barkbaskets,earthenwarepitchers,Delftware,andpewtermugsandbowls,aswellascopper,brass,orironvessels.Colors:Brightormutedcontrastingcolorsincludingred,vermilion,rose,blue,Delftblue,lavender,purple,orange,saffron,apple-green,andbrown.Oftencomplementingthosefoundinhouseholdfabricssuchashomespun,chintz,embroidery,andIndiaprints.DesignShape:RoundedmasswithoutstructureAccessories:Candlestick,inkwell,quillpenPlantMaterial:Oftennativeorwild.Amaranthus,Aquilegia,Artemesia,Asclepius,Aster,BeeBalm,Bachelor’sButto,Baptisia,Bellflower,BlackeyedSusan,Calendula,Canna,Cattails,Celosia,CherryBlossoms,Chrysanthemum,Clematis,Clovepink,Clover,Convallaria,Coreopsis,Corn,Cornflower,Daisy,Daffodils,Dame’sRocket,Daylily,Dicentra,Digitalis,Driedmaterials(AmericanBittersweet,Honesty,Cattail,RoseHip,Everlasting,Corn,Gourd)Fern,Feverfew,Flax,Fruitandfruitblossoms,Foxglove,Gaillardia,Geranium,Goldenrod,Grasses,Gypsophilia,Herbs,Hollyhock,Honeysuckle,Hydrangea,Hyacinth,Larkspur,Lavender,Lily,Lunaria,Lupine,Magnolia,Mallow,Marigold,Mapleleaves,Mertensia,MockOrange,Monkshood,Nasturtium,Nuts,Pansy,Peony,Petunia,Pokeberry,Poppy,Primula,QueenAnne’sLace,Roses(mossandwildsingletype),Rosemary,Rudbeckia,Salvia,Sunflower,

PeriodFlowerArrangements,FrancesJ.Hannay,1948,HomeGardeningfortheSouth,NewOrleans.


SweetWilliam,Tansy,Tulip,Trillium,TrumpetVine,Verbena,Viburnum,Viola,Wallflower,Yarrow,Yew,andBulbFlowers.

LATECOLONIAL:Williamsburg(1700–1780)CulturalEnvironment:WhenWilliamsburgwasestablishedasthecapitalofVirginiaandthesurroundingcolonies,activetradingbegantotakeplace.Manypeopleandartisticinfluenceswerejoinedtogethercreatingdiversestyles.Characteristics:

• Massed,rounded,triangular,orfan-shapeddesigns• Symmetrical• Flowersoftheperiod• Flowersgroupedlightlyatthetop• Arrangementis1to3timestheheightofthecontainer

ReflectiveoftheirEnglishandEuropeanroots,particularlyGeorgianandFrenchdesigns,LateColonialfloralarrangementsbecamemoresymmetricalandsophisticated.Fan-andtriangular-shapedflowerarrangementswerelightlygroupedatthetop,sometimes1to3timestheheightoftheircontainers,withflowersmassedatthecontainer’srim,oftenalmostconcealingthecontainer.Somearrangementsfeaturedbouquetsofoneflowertypewithafillerflower.

GCV2008


Containers:Chineseexportporcelainbowls,vases,andurns;epergnesinsilverandporcelain;cornucopia,cachepots,Defltwareand“bricks”(Dutchceramicbrick-shapedcontainerthathadaclosedtopwithholes),wallpockets,fingervases,pewterandothermetalchalices,mugs,andbowls,andstonewarejugs;Spode;Lustreware.Colors:Colorstendedtowardmutedbluesandgreens,althoughpastelsanddeeperhueswerealsopopular.DesignShape:Triangle,fan,orroundedAccessories:Hourglass,needlework,and/orfruitsandflowersweresometimesplacedonthetablearoundthecenterpiece.PlantMaterial:EarlyColonial:Amaranthus,Aquilegia,Artemesia,Asclepius,Aster,BeeBalm,Bachelor’sButto,Baptisia,Bellflower,BlackeyedSusan,Calendula,Canna,Cattails,Celosia,CherryBlossoms,Chrysanthemum,Clematis,Clovepink,Clover,Convallaria,Coreopsis,Corn,Cornflower,Daisy,Daffodils,Dame’sRocket,Daylily,Dicentra,Digitalis,Driedmaterials(AmericanBittersweet,Honesty,Cattail,RoseHip,Everlasting,Corn,Gourd)Fern,Feverfew,Flax,Fruitandfruitblossoms,Foxglove,Gaillardia,Geranium,Goldenrod,Grasses,Gypsophilia,Herbs,Hollyhock,Honeysuckle,Hydrangea,Hyacinth,Larkspur,Lavender,Lily,Lunaria,Lupine,Magnolia,Mallow,Marigold,Mapleleaves,Mertensia,MockOrange,Monkshood,Nasturtium,Nuts,Pansy,Peony,Petunia,Pokeberry,Poppy,Primula,QueenAnne’sLace,Roses(mossandwildsingletype),Rosemary,Rudbeckia,Salvia,Sunflower,SweetWilliam,Tansy,Tulip,Trillium,TrumpetVine,Verbena,Viburnum,Viola,Wallflower,Yarrow,Yew,andBulbFlowers.LateColonial(inadditiontoEarlyColoniallist):Azalea,Buddelia,Cranberry,Currant,Elderberry,Godetia,Iris,Kalmia,Knifophia,Phlox,Mahonia,Rhodendron,Snapdragon,Stock,Tuberose.

GCV2010 GCV2010


FEDERAL(1780–1830)CulturalEnvironment:TheFederalperiod,equivalenttotheEnglish-GeorgianperiodinEngland,lastedfrom1780to1830.Itisknownasthepolitical,social,anddecorativeformationerainAmericafollowingtheRevolutionaryWar.TheFederalPeriodinAmericawasaculminationofseveralinfluences,bothhereandinEurope.Alliedbytheirrespectiverevolutionaryexperiences,FranceandtheUnitedStatesinspiredeachotherintastesandstylesoftheday.ThedecorativeartsbegantoreflecttheidealsofpatriotismandrepublicanismwithGreco-Romanmotifs.Withthe“classic”adornmentcamesparseness,anunclutteredandcleanformalitythatwasbeautifullysuitedtotheinteriorstylesoftheday.MarthaandGeorgeWashingtonarecreditedwiththeinnovationoftheFederalStyle;hewithimportationofforeignplantmaterialandshewithformalfloralarrangementsadorningtheirhome,MountVernon.Characteristics:

• Geometricconeshape• Masswithsymmetricalbalance• Heightgreaterthanwidth• Harmonyofmutedcolorsratherthanvividcontrast• Formalarrangement• Nocenterfocalpoint• Plantmaterialmaygentlyoverhangtherimofthecontainer• Thebaseofthearrangementshouldappearcircularfromanaerialview

FlowerarrangementsoftheFederalperiodaresymmetrical,masseddesignsthatarenonethelesssomewhatopen,withthebeautyoftheflowersstressed.Plantmaterialmaygentlyoverhangtherimofthecontainer,givingasenseoflightnesstothedesignthatavoidsasolidoroverheavyimpressionatthebase.Inatallvaseofclassicdesign,theheightofthecompositionisgreaterthanthewidth,suggestingaslimelegance.Harmonyofcolorratherthanvividcontrastisahallmarkofthisformaldesign.Containers:Floralarrangementswereoftenplacedintall,footed,orpedestalvases,handledurns,epergnesortieredpieces,cachepots,basketsandbowlsofceramic,silver,metal,ortole.Colors:Colorsarepastelratherthanbrightorbold.Muted,restrictedcolorschemesandharmonyofcolorratherthanvividcontrast.DesignShape:GeometricconePlantMaterial:Choiceofmaterialemphasizedfavoritesoftheancientworld,suchasGoldenWheatsheaves,Ivy,OakandLaurelleaves,andwithfruitssuchasPomegranate,Fig,PeachandQuince.FlowersincludedAnemone,Aster,Bachelor’sButton,BleedingHeart,Candytuft,Camellia,CanterburyBell,Carnation,Chrysanthemum,CrownImperial,Cornflower,Dahlia,Delphinium,Dogwood,EasterLily,Forget-me-not,Foxglove,Fruitblossoms,Fuchsia,Gladiolus,Hellebore,Hemerocallis,Hollyhock,Hyacinth,Iris,Jonquil,Larkspur,Lilac,Lily,Lily-of-the-Valley,Marguerite,Marigold,Narcissus,Pansy,Peony,Petunia,Phlox,Platycodon,Poppy,Primrose,Ranunculus,Rose,Salvia(blue),Snapdragon,Strawflower,Stripedgrass,Stock,Sunflower,SweetWilliam,TigerLily,Tulip,andViolet.


GCV2011 GCV2011 GCV2011


AmericanGeometricDesigns***Remember,thismaterialistobeusedasaguideandshouldbesupplementedwithyourownresearchandcarefulreadingoftheFlowerShowSchedule.AllarrangementsMUSTbeoriginaldesignspreparedbytheindividual/individualsexhibitingthem.ItwasfromthestronginfluencesoftheOrientalLineandEuropeanMass,translateddirectlyintoLineandMassdesignsrespectively,thatanewstyleoffloraldesignwasdevelopedintheUnitedStates.Theearly1930ssawthefirstgreatinterestinfloraldesignasacreativeoutlet.Thegardenclubmovementbeganinearnest,andbothgardenandfloristflowerswerereadilyavailable.Traditionaldesignswereorganizedaccordingtorulesandstylesandwerebasedongeometricforms.Withonecenterofinterestnearthecenteraxis,wherealllinesconverge,nocrossedlinesareevident.Gracefulrhythm,createdbygradationofline,texture,color,andflowerform,ischaracteristicofthesedesigns.AllTraditionaldesignsmustbefinishedatthebackandhavedepth.Beauty,unity,andharmonyareachievedbycreativeselectionofplantmaterials.Thereislittleornoabstraction;plantmaterialsareusedinanaturalisticway.IftheflowershowSchedulecallsforalinearrangementanddoesnotspecifyTraditionalorCreativeLineitwouldbewisetocontacttheclassconsultantorshowchairmanforclarification,asthetwohaveimportantfundamentaldifferences.Someofthosedifferencesinclude: TraditionalLine CreativeLineDesign • Definiterulesandsetpatterns

• Singlefocalpoint• Onepointofemergence

• Fewrules/setpatternsexceptthattheremustbealine

• Mayhavemorethanonefocalpoint• Mayhavemorethanonepointofemergence

• VacantnegativespacepreservedContainer • Traditional,blendedwithmaterials • Bold,dramatic,maynotbeintendedasa

container,ornocontainerusedatallMaterials • Onlynaturalmaterials

• Plantmaterialsusedintheirnaturalstate• Transitionalmaterialusedtoemphasizeline

• Mayincludeman-madeorfoundmaterials

• Plantmaterialsmaybeusedfortheirdesignqualityonlyandmaybeabstracted

• LittleornotransitionalmaterialColor • Harmonious,blendedcolors • Bold,vividcolors,strongcontrast***Note:ForCreativeLine,alsoconsultthesectionentitled“AboutCreativeDesigns”forotheressentialelements.CommonCharacteristicsforTraditionalLine,TraditionalLineMass,andTraditionalMassDesigns

• Singlepointofemergence;balanceandsymmetryoriginatefromcentralaxis• Singlewell-definedfocalareaatpointofemergence• Plantmaterialgroupedbycolorandkind• Longestortallestlines1to2timestheheightordiameterofthecontainer,whicheverisgreater


• Nocrossinglines• Componentswithgreatestvisualweight(strongestcolors,largestforms,andthickestlines)are

placedlowinthedesign• Componentswithleastvisualweight(smallestforms,lightestcolors,thinnestlines)areplaced

attheperipheryofthedesign• Depthandrhythmachievedthroughgradationofsize,color,texture,andover-lappingforms• Transitionalmaterials(fillermaterial)usedtofillspaceswithinthedesign• AllthreeTraditionaldesignstylesareplannedaroundasetpatternandarebasedonthe

(verticalorhorizontal)geometricformsofthecylinder,cone,cube,andsphere,ormanipulationsoftheseforms.

• Thesedesignsallfollowasetpatternandallowlittledeviationfromtheestablishedform;distinctionisaccomplishedbytheselectionofplantmaterialandtheskillfulapplicationofthe“PrinciplesofDesign”and“ElementsofDesign”

Verticalandhorizontallinesarederivedfromthecylinder

Theconeprovidestheverticalandaninfinitenumberofobliquelinedirections

Thecubeincludesthetriangle,rightangle,andzig-zagformsandlines

Maniuplationsofthesphereincludethecrescent,fan,andHogarthcurve

CreativeFlowerArranging:FloralDesignforHomeandFlowerShow,BettyBelcher,1993,TimberPress,Portland.


TRADITIONALLINEDESIGN(1901–1950)Characteristics:

• Clean-cutdesigncomposedprimarilyoflinematerials• Aminimumamountofplantmaterialestablishesthefocalareaandcreatesminimaldepth• Lineisdominant• Singlepointofemergence• Opensilhouetterequiringgreatrestraintinquantityofplantmaterials• Symmetricalorasymmetricalbalance• Linedesignsmayinclude(butarenotlimitedto)vertical,horizontal,crescent(C-curve),Hogarth

(S-curve),zigzag,oblique,orasymmetricaltriangle• Thesedesignsallfollowasetpatternandallowlittledeviationfromtheestablishedform;

distinctionisaccomplishedbytheselectionofplantmaterialandtheskillfulapplicationofthe“PrinciplesofDesign”and“ElementsofDesign”

LinedesignsareadaptedfromtheOrientalLinedesignsinwhichthelinearpatternisdominant.Materialsarechosenspecificallytocreateawell-definedline.Thesilhouetteisopeninform,requiringgreatrestraintintheamountofplantmaterialused.Oftentheadditionofafewbloomsandalittlefoliageisallthatisrequiredtoachieveadramaticdesignandestablishafocalarea.Linedesignsmayinclude(butarenotlimitedto)vertical,horizontal,crescent(C-curve),Hogarth(S-curve),zigzag,oblique,ortriangle.Thesedesignsallfollowsetpatternsofdesignthatfeatureasinglefocalareaandonepointofemergence.Mostoftenthelengthofthelongestlinematerialisone-and-a-halftimestheheightorwidthofthecontainer,whicheverisgreater.Pleasereferto“CommonCharacteristicsforTraditionalLine,TraditionalLineMass,andTraditionalMassDesigns.”Containers:Asimplecontainerusuallyinanearthcolorsuchasblack,brown,gray,orgreen.Thecontainershouldblendwiththeplantmaterialandnotcompetewiththedesign.Colors:Colorharmonystrengthenstheline.DesignShape:Lines,including(butnotlimitedto)vertical,horizontal,zigzag,“C”shaped,“S”shaped,oblique,andtrianglePlantMaterial:Thelineisreinforcedbytherestraineduseofplantmaterials.Branchesandotherlinearplantmaterial,notmassed.


TRADITIONALLINEMASS(1901–1950)Characteristics:

• Symmetricalorasymmetricalbalance• Additionalplantmaterialisusedormassed(butwithrestraint)toenhanceandstrengthenthe

line• Transitional(filler)materialincluded• Thetraditionallinemassmustpossessthelinearqualitiesofthelinedesign• Theadditionalplantmaterialprovidesgradation,transition,anddepthforbalanceandrhythm• Strongestpointofdesignatpointofemergence• Thesedesignsallfollowasetpatternandallowlittledeviationfromtheestablishedform;

distinctionisaccomplishedbytheselectionofplantmaterialandtheskillfulapplicationofthe“PrinciplesofDesign”and“ElementsofDesign”

LineMassisablendofEuropeanandJapanesedesign.InLineMassdesigns,thelineremainsimportantbutthereismoremassingofplantmaterial,creatingagreaterdepthwithathirddimensionthatispracticallynonexistentinTraditionalLineDesign.Plantmaterialisplacedtoformanorderlyoutlineandmassedtocreateafocalarea,withgradualchangefromthelineatthetopandperipherytothemassatthecentralaxis.Pleasereferto“CommonCharacteristicsforTraditionalLine,TraditionalLineMass,andTraditionalMassDesigns.”Containers:Asimplecontainerusuallyinanearthcolorsuchasblack,brown,gray,orgreen.Thecontainershouldblendwiththeplantmaterialandnotcompetewiththedesign.Colors:Colorharmonystrengthenstheline.DesignShape:SamelinesasTraditionalLineDesign(including,butnotlimitedto)vertical,horizontal,zigzag,crescent/“C”shape,Hogarth/“S”shape,oblique,andtriangle,butfullerinallinstances.PlantMaterial:Size,color,andtextureofmaterialcanbeusedtocreateinterest.

GCV2008 CreativeFlowerArranging:FloralDesignforHomeandFlowerShow,BettyBelcher,1993,TimberPress,Portland.


TRADITIONALMASS(1901–1950)Characteristics:

• RequiresmorematerialthantheLineorLineMassdesign• Frontappearanceofthedesignisfull-bodiedversusflat• Designhasclosedformbutplantmaterialisnotcrowded• Thereisagradualchangefromstrongcolorsandlargesizesofplantmaterialatthe

bottom/focalareatolightercolorsandsmallersizesatthetopandouteredges• Greaterdensityofsolidsisneededatthefocalareatoholdtheeye,butmoreslenderplant

materialisrequiredattheextremitiesofthedesign• Symmetricalbalance:alllinesappeartorisefromasinglepointbutareangledtocreateasense

ofdepthandbalance• Floralmaterialsare1to2timestheheightorwidthofcontainer(sometimestaller)

Thisdesignhasaclosedsilhouetteandalmostalwayshassymmetricalbalance.Thereisafullydevelopedfocalareaatthecenteraxisusingbolderflowerformsandbrighterhuestoaddandholdinterest.Agraduationtomoreslender(andsometimeslighter-colored)plantmaterialisrequiredatthetopandouteredgesofthedesign.Distinctionisaccomplishedbytheselectionofplantmaterial,containers,andothercomponents.Pleasereferto“CommonCharacteristicsforTraditionalLine,TraditionalLineMass,andTraditionalMassDesigns.”Containers:Awidevarietyoftallvases,shallowbows,andurns.Colors:Useofdifferentcolorharmonies(harmonious,analogous,orcontrasting,dependingonthedesiredeffect).DesignShape:Round,oval,triangular,orfan-shaped.PlantMaterial:Plantmaterialisselectedforitssizeandsometimesintensityofcolortomakeagradualtransitiontoslendererformsontheperimeterofthedesign.

TheFineArtofFlowerArranging,Nancyd’Oench,2002,HarryN.Abrams,Inc.Publishers,NewYork.


TheFineArtofFlowerArranging,Nancyd’Oench,2002,HarryN.Abrams,Inc.Publishers,NewYork.


Bibliography

ReferenceBooksABouquetfromtheMetFlowerArrangementsbyChrisGiftsattheMetropolitanMuseumofArtBarbaraPlumbwithPageStarzingerHarveyN.Abrams,Inc.NewYork,NewYork,1998AHistoryofFlowerArrangementJuliaS.BerrallVikingPressNewYork,NewYork,1968ArtinBloomVictoriaJaneReam,forewordbyRonMorganDesertEquity,PublishingDivisionSaltLakeCity,Utah,1997CreativeFlowerArranging:FloralDesignforHomeandFlowerShowBettyBelcherTimberPressPortland,Oregon,1993“WhatisTraditional?”KathyNoble,AmericanRoseSocietyBulletinLateSummer/Fall2010.

DesigningbyTypesNationalGardenClubs,Inc.TheEPICompaniesMarietta,Georgia,2008FlowerArrangingElsieBurchDonaldOctopusBooksLtd.GalleryBooks,W.H.SmithPubishers,Inc.NewYork,NewYork,1979FlowerArrangingforPeriodDecorationMarianKlamkinAvenelBooksNewYork,NewYork,1968OutlinesofPeriodFlowerArrangementFrancesJ.HannayNationalCouncilofBooks,Inc.Philadelphia,Pennsylvania,1948TheFineArtofFlowerArrangingGardenClubofAmericaTextbyNancyD’OenchHarryN.Abrams,Inc.NewYork,NewYork,2002

TheArtofFloralDesignNorahT.HunterDelayPublishersInc.Albany,NewYork1994


MuseumReferences&Collections• AltePinakothek(Munich,Germany)• DumbartonOaksResearchLibraryand

Collection(Washington,D.C.,US)• FitzwilliamMuseum(Cambridge,UK)• KunsthistorischesMuseum(Vienna,Austria,

US)• MetropolitanMuseumofArt(NewYork,New

York,US)• NationalGalleryofArt(Washington,D.C.,US)• TheNationalGallery,TrafalgarSquare

(London,UK)

• LouvreMuseum(Paris,France)• Mauritshuis(TheHague,Netherlands)• MuseoNacionaldelPrado(Madrid,Spain)• MuseumofFineArts(Boston,Massachusetts,

US)• TheWaltersArtMuseum(Baltimore,

Maryland,US)• VirginiaMuseumofFineArts(Richmond,VA,

US)

OnlineSources• https://www.britannica.com/art/floral-decoration/Historical-and-stylistic-developments• https://www.doaks.org/resources• http://www.fitzmuseum.cam.ac.uk/collections• www.floraldesignstudent.wordpress.com• www.flowershopnetwork.com• http://www.hort.vt.edu• https://www.museodelprado.es/en/the-collection/art-work/sight/494fd4d5-16d2-4857-811b-

e0b2a0eb7fc7• http://moodle.nisdtx.org• https://www.nationalgallery.org.uk• www.nga.gov• https://landscapenotes.com/2017/07/14/hampton-court-palace-gardens• www.houzz.com• www.custommade.com

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